Part of the American Literatures Initiative Series From the patricians of the early republic to post-Reconstruction racial scientists, from fin de siècle progressivist social reformers to post-war sociologists, character, that curiously formable yet equally formidable “stuff,” has had a long and checkered history giving shape to the American national identity. Bodies of Reform reconceives this pivotal category of nineteenth-century literature and culture by charting the development of the concept of “character” in the fictional genres, social reform movements, and political cultures of the United States from the mid-nineteenth to the early-twentieth century. By reading novelists such as Herman Melville, Mark Twain, Pauline Hopkins, and Charlotte Perkins Gilman alongside a diverse collection of texts concerned with the mission of building character, including child-rearing guides, muscle-building magazines, libel and naturalization law, Scout handbooks, and success manuals, James B. Salazar uncovers how the cultural practices of representing character operated in tandem with the character-building strategies of social reformers. His innovative reading of this archive offers a radical revision of this defining category in U.S. literature and culture, arguing that character was the keystone of a cultural politics of embodiment, a politics that played a critical role in determining-and contesting-the social mobility, political authority, and cultural meaning of the raced and gendered body.

In the nineteenth century, long before film and television brought us explosions, car chases, and narrow escapes, it was America's theaters that thrilled audiences, with “sensation scenes” of speeding trains, burning buildings, and endangered bodies, often in melodramas extolling the virtues of temperance, abolition, and women's suffrage. Amy E. Hughes scrutinizes these peculiar intersections of spectacle and reform, revealing the crucial role that spectacle has played in American activism and how it has remained central to the dramaturgy of reform. Hughes traces the cultural history of three famous sensation scenes—the drunkard with the delirium tremens, the fugitive slave escaping over a river, and the victim tied to the railroad tracks—assessing how these scenes conveyed, allayed, and denied concerns about the rights and responsibilities of citizenship. These images also appeared in printed propaganda, suggesting that the coup de théâtre was an essential part of American reform culture. Additionally, Hughes argues that today’s producers and advertisers continue to exploit the affective dynamism of spectacle, reaching an even broader audience through film, television, and the Internet. To be attuned to the dynamics of spectacle, Hughes argues, is to understand how we see. Her book will interest not only theater historians, but also scholars and students of political, literary, and visual culture who are curious about how U.S. citizens saw themselves and their world during a pivotal period in American history.

The claim that masturbation isn t good for you didn t just come out of nowhere. As April Haynes shows, a range of feminist reformers in nineteenth century America all agreed that the solitary vice caused untold suffering and death; that women and girls masturbated as frequently as did men and boys; that they did so because they lacked access to sexual information; and that therefore, female sex education would save lives. Haynes, in short shows that nascent feminists remade what might have been a puritanical crusade into a basis for envisioning their own sexual self-masterywith mixed results, for Haynes also tells the story of how, before the advent of sexology or even the professionalization of medicine, a great silent army of evangelical female reformers first popularized, then institutionalized, the normative sexual discourse of the nineteenth century."

Part of the American Literatures Initiative Series From the patricians of the early republic to post-Reconstruction racial scientists, from fin de siècle progressivist social reformers to post-war sociologists, character, that curiously formable yet equally formidable “stuff,” has had a long and checkered history giving shape to the American national identity. Bodies of Reform reconceives this pivotal category of nineteenth-century literature and culture by charting the development of the concept of “character” in the fictional genres, social reform movements, and political cultures of the United States from the mid-nineteenth to the early-twentieth century. By reading novelists such as Herman Melville, Mark Twain, Pauline Hopkins, and Charlotte Perkins Gilman alongside a diverse collection of texts concerned with the mission of building character, including child-rearing guides, muscle-building magazines, libel and naturalization law, Scout handbooks, and success manuals, James B. Salazar uncovers how the cultural practices of representing character operated in tandem with the character-building strategies of social reformers. His innovative reading of this archive offers a radical revision of this defining category in U.S. literature and culture, arguing that character was the keystone of a cultural politics of embodiment, a politics that played a critical role in determining-and contesting-the social mobility, political authority, and cultural meaning of the raced and gendered body.

The Committee's report on an evaluation of Whitehall departments' plans for structural change in response to the twin challenges of major public service reform and significantly reduced administrative budgets.The Committee expresses concern that the centre of Government, notably the Treasury and the Cabinet Office, is providing neither strategic leadership nor a governance framework to departments in managing their change programmes. The demand is immediate for an all encompassing strategic approach to change, minimising disaggregation and ensuring a 'joined up Government' approach."

Pioneering African American journalist Ida B. Wells-Barnett (1862-1931) is widely remembered for her courageous antilynching crusade in the 1890s; the full range of her struggles against injustice is not as well known. With this book, Patricia Schechter restores Wells-Barnett to her central, if embattled, place in the early reform movements for civil rights, women's suffrage, and Progressivism in the United States and abroad. Schechter's comprehensive treatment makes vivid the scope of Wells-Barnett's contributions and examines why the political philosophy and leadership of this extraordinary activist eventually became marginalized. Though forced into the shadow of black male leaders such as W. E. B. Du Bois and Booker T. Washington and misunderstood and then ignored by white women reformers such as Frances E. Willard and Jane Addams, Wells-Barnett nevertheless successfully enacted a religiously inspired, female-centered, and intensely political vision of social betterment and empowerment for African American communities throughout her adult years. By analyzing her ideas and activism in fresh sharpness and detail, Schechter exposes the promise and limits of social change by and for black women during an especially violent yet hopeful era in U.S. history.